Professional Documents
Culture Documents
The Palgrave Handbook of Interactive Marketing Cheng Lu Wang full chapter instant download
The Palgrave Handbook of Interactive Marketing Cheng Lu Wang full chapter instant download
https://ebookmass.com/product/the-palgrave-handbook-of-critical-
theory-thompson/
https://ebookmass.com/product/the-palgrave-handbook-of-german-
romantic-philosophy-elizabeth-millan-brusslan/
https://ebookmass.com/product/the-palgrave-handbook-of-
operations-research-said-salhi/
https://ebookmass.com/product/the-palgrave-handbook-of-global-
sustainability-robert-brinkmann/
The Palgrave Handbook of Positive Peace Katerina
Standish
https://ebookmass.com/product/the-palgrave-handbook-of-positive-
peace-katerina-standish/
https://ebookmass.com/product/the-palgrave-handbook-of-sexual-
ethics-david-boonin/
https://ebookmass.com/product/the-palgrave-handbook-of-climate-
history-sam-white/
https://ebookmass.com/product/the-palgrave-handbook-of-literary-
translation-boase-beier/
https://ebookmass.com/product/the-palgrave-handbook-of-script-
development-stayci-taylor/
The Palgrave Handbook
of Interactive Marketing
Edited by
Cheng Lu Wang
The Palgrave Handbook of Interactive Marketing
Cheng Lu Wang
Editor
The Palgrave
Handbook
of Interactive Marketing
Editor
Cheng Lu Wang
University of New Haven
West Haven, CT, USA
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature
Switzerland AG 2023
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation,
reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any
other physical way, and transmission or information storage and retrieval, electronic adaptation,
computer software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and information in
this book are believed to be true and accurate at the date of publication. Neither the publisher
nor the authors or the editors give a warranty, expressed or implied, with respect to the material
contained herein or for any errors or omissions that may have been made. The publisher remains
neutral with regard to jurisdictional claims in published maps and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Foreword
I do not like to use Latin words, preferring to write with shorter, blunter
English words whose roots are in Anglo-Saxon or Norse. So it is odd that
we chose the word “interactive” over 30 years ago to sum up a claim about
the future of marketing, that the back-and-forth between marketers and
consumers would define a coming “age of addressability.” 1 And there was
a price to pay for the choice. It gave us an excuse not to think too graphically
about the many ways that the consumer side of market transactions would talk
back to the concentrated power of marketers. I would like in this foreword to
make amends.
But before the atonement, let us acknowledge that this clumsy word, a
melding of Latin’s “inter” and “activus,” has lasted remarkably well. In fact, it
is fair to describe it, as Charles Wang does, as still defining one of marketing’s
fastest growing academic fields. It has led Professor Wang to invite me to write
a foreword to this book. The breadth of this book’s contents amply justifies
the claim that the interactivity theme in marketing is still growing, and indeed
at an accelerating pace. Interactivity is at the core of many frontier market-
making issues, the internet of things, the metaverse, platform business models,
and live streaming, to name just four of the book’s feast of themes.
So in trying to redress the abstractness of the interaction label, I shall
respond to Professor Wang’s kind invitation not with more abstract theo-
rizing on the frontier issues of interactivity in marketing, but instead by
pointing to some concrete interaction phenomena, believing as I do that theo-
rizing should proceed from phenomena (imperfectly understood and slightly
puzzling patterns of fact in the world) to theory.
Consider the phenomenon of the Johnny Depp versus Amber Heard libel
trial. It gave us just such a pattern of fact to puzzle over when legacy media’s
coverage of the trial was beaten by the coverage of “influencers.” The trial was
1 Blattberg, Robert C. and John Deighton (1991), “Interactive Marketing: Exploiting
the Age of Addressability,” Sloan Management Review, 33 (Fall), 5–14.
v
vi FOREWORD
live streamed on cable networks, which should have given them an unbeatable
market share advantage. The cable format of live sessions and breakaways to
commentaries had dominated the marketing of media products such as the OJ
Simpson and Kyle Rittenhouse trials. Refined over decades of broadcasting, it
should have been the way to do trial-as-media-product. And yet it was not. A
relatively new form of packaging, commentary by specialist influencers, won
out. Emily D. Baker, a former Los Angeles County deputy district attorney
who started her online career by unboxing an iPhone, led the assault with
500,000 weekly views. Her podcast, “The Emily Show,” rose to first place on
Apple Podcasts for US entertainment news during the trial, but she was just
one of several direct-to-consumer law pundits who covered the trial. What
advantages did these solo media stars have over legacy media? Beyond their
legal credentials, they were interactive. To simple chat they could add, for
a fee, Super Chat, a feature offered by the YouTube Partner program. It
let viewers win immediate prominence for their questions. They could also
add, for another fee, Super Stickers to decorate their chat stream entries.
The money to be made by selling these premium chat features was nothing
compared to ad revenue (Emily Baker reportedly made $109,000 monthly
during the Depp/Heard trial) but the chance to interact helped build the audi-
ence that advertisers bought. A Los Angeles Times reporter said that at one
moment in the proceedings Baker had about 128,000 live viewers, compared
to 72,000 for LiveNOW, the Fox cable channel’s streaming service and 86,000
for the cable channel ET.2
Twitch is a closely related case in point. Is the bond among esports stars,
commentators, and followers more intense than the bonds found in legacy
media because the chat stream, the real-time responses to the show, became
part of the show?
Physical store retailing is interactive, in a limited sense because stores offer
goods, shoppers respond, and stores respond to the responses. But it fails a
basic test of interactivity over time in that the shopper is anonymous until
after the transaction is over, and not even then if they pay with cash. Shop-
kick and Ibotta are platforms that let store retailing become as interactive as
online retailing. Their apps run on the phones carried by shoppers, and let
brands and retailers manage two-way conversations with identified shoppers.
The merchants give points, known as kicks, for walking into stores, inspecting
products on shelves, and making purchases. Shoppers react by doing what the
apps suggest. The puzzle to be solved is that this kind of offline interaction has
been slower to be accepted than online. Compared to passive loyalty programs,
shoppers are reluctant to take part in the active interaction required to make
the Shopkick and Ibotta apps partners in conversation.
2 Sakoui, Anousha. (2022). “The Amber Heard-Johnny Depp trial has turned this
ex-L.A. prosecutor into a YouTube star”, Los Angeles Times, May 26, 2022. https://
www.latimes.com/entertainment-arts/business/story/2022-05-26/johnny-depp-amber-
heard-trial-youtube-emily-baker.
FOREWORD vii
Shein, the leading fast fashion brand in the USA, takes interaction in a
new direction. Shein operates as a front end to about 6000 Chinese clothing
factories, promoting their goods to customers in the USA on Tik Tok, Insta-
gram, and email. Where is the interaction? It is in a three-way conversation
between the brand, consumers, and the factories. Shein scours the internet for
clothing ideas, often finding them in the ideas of fashion influencers. It invites
factories to supply small quantities based on these ideas, and if an idea is a
success, invites factories to fill larger orders. Where Zara might ask factories
to fill minimum orders of 2000 items in 30 days, Shein’s first ask may be for
100 products in 10 days. The conversation is conducted not in the medium
of language, but in orders, deliveries, and sales.
Like Shein, Tik Tok itself is interactive in behavior, not messaging. The plat-
form offers a short video to an anonymous viewer. Depending on reaction, the
next video will be similar or different. After several rounds of this interaction,
Tik Tok’s algorithm will have begun to converge on the taste profile of the
viewer with more precision than many algorithms can do by using personal
data to profile the consumer. Of course, Tik Tok viewers may share a persis-
tent identifier such as an email address with Tik Tok, so that new visits can
start with a known profile, but viewers who prefer to be anonymous are at
very little disadvantage.
I promised no theory, but I cannot resist drawing an inductive general-
ization from these concrete cases. It amounts to a definition of interactivity.
An action and a reaction fall short of being an interaction. To be interactive,
three steps are needed. First there is an action, typically by the marketer on
the consumer. It can be a message or a non-verbal provocation like a coupon
or in Shein’s case an invitation to do business. Second there is a reaction. The
second actor, typically the consumer, responds, or fails to respond. Third, the
first actor acts again, in a way that takes account of the second actor’s response
or lack of response. Round three of an interaction is not just a repetition of
round one. The first actor learns. Persistent identity is vital to interactivity
unless, as in Tik Tok, the second actor stays in the relationship. Those cases
aside, a vital characteristic of the topic of this book is the ability of the parties
to recognize each other on subsequent encounters.
He is a past editor of the Journal of Consumer Research and the Journal of Interac-
tive Marketing, was Executive Director of the Marketing Science Institute, and was a
Director of the Berkman-Klein Center for Internet and Society at Harvard University.
Acknowledgements
ix
x ACKNOWLEDGEMENTS
xiii
xiv CONTENTS
Glossary 1013
Index 1037
Notes on Contributors
xix
xx NOTES ON CONTRIBUTORS
these mechanisms’ cognitive and persuasion outcomes; (3) Exploring how the
characteristics of the immersive environment modify these processes.
Cheng Edward Ying-Lun is currently studying in the Department of Elec-
tronic and Electrical Engineering, University College London, UK. His
current research interests are speech emotional recognition, location detection
through GPS, and architecture and landscape design with integrated engi-
neering. His research has been published in journals such as Journal of Business
Research, among others.
Cheng Julian Ming-Sung is Professor of Marketing in the Business Admin-
istration Department, National Central University, Taiwan. Dr. Cheng is also
Professor in the College of Business, University of Economics Ho-Chi-Minh
City, Vietnam. His research interests include marketing channels, martech,
branding, glocal marketing, sustainability marketing, AI and marketing, and
meta-analysis. His research has been published in various marketing journals
such as Journal of the Academy of Marketing Science, Journal of International
Marketing, Industrial Marketing Management, International Journal of Oper-
ations and Production Management, Journal of Business Research, Journal of
Advertising Research, and European Journal of Marketing, among others.
Dr. Chen Yu-Hsin is currently Assistant Professor in the Department of Inter-
national Business, Shih Chien University, Taipei, Taiwan. His research focuses
on Internet marketing, customer behavior, and social network services.
Dr. Chuan Ching-Hua is currently Assistant Professor in Interactive Media
at the School of Communication, University of Miami, USA. Dr. Chuan is a
computer scientist who conducts research on human-centered computing and
computational communication. Her research interests include artificial intelli-
gence, machine learning, music information retrieval, audio signal processing,
data inclusion, and AI literacy.
Dabija Dan-Cristian is Full Professor and Ph.D. Supervisor at the Depart-
ment of Marketing, Babes, -Bolyai University, Romania. Dr. Dabija success-
fully supervised one Ph.D. student who recently graduated and has led
research projects on sustainability and the COVID-19 Resilience in Retail. He
published more than 100 papers in international ranked journals, participated
in numerous prestigious conferences, and serves as an associate or guest editor
for Amfiteatru Economic, Kybernetes, Journal of International Management.
His teaching disciplines are Retailing, International Marketing, Sales Promo-
tion, and Strategic Marketing. He was awarded the first book prize of the
Romanian Association of Economic Faculties (2017), the “Victor Slăvescu”
Prize (2019) of the Romanian Academy of Science, the Publons “Excellent
Reviewers” and the “Top Reviewers in Economics and Business” Awards
(2018), the “2020 MDPI Top Reviewer Award.”
Dineva Denitsa (Ph.D.) is Assistant Professor (Lecturer) in Marketing and
Strategy at Cardiff Business School, Cardiff University, UK. Her research area
Another random document with
no related content on Scribd:
*** END OF THE PROJECT GUTENBERG EBOOK PRINZESSIN
SIDONIE (BAND 3/3) ***
Updated editions will replace the previous one—the old editions will
be renamed.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the terms
of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.F.
1.F.4. Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.